Paper note: An important factor in judging the authenticity of painting

In the autumn auction of Shanghai Duo Yun Xuan in 2010, a Wu Hufan painting titled "Xiao Xiang Tu" was estimated between 30,000 and 50,000 yuan, but it eventually sold for an impressive 837,600 yuan. While this might seem modest compared to today’s “billion-dollar era,” the piece is still remarkable given its small size—only 22 by 26 centimeters, roughly 0.6 square feet. Despite its unassuming dimensions, the work showcases the refined elegance typical of Wu Hufan’s literary-style paintings. The artwork, known as "Li Bo Shi Xiaoxiang Map," draws inspiration from the landscape style of Mi Yuan, blending subtle brushwork with atmospheric depth. The painting was created on "Flower Corner" paper, a type of traditional stationery that was widely used during the Yongzheng and Qianlong periods. This kind of paper is characterized by its blank surface, with only a small printed pattern in the lower left corner. Such papers are highly sought after, especially when they are imitations from later periods, as they add historical value to the artwork. Beyond painting, calligraphy also plays a crucial role in determining the value of Chinese art. For instance, at the China Guardian Autumn Auction in 2010, a calligraphy piece by Hu Shi titled "Suan Sutuzhai (Qing Jiang Yin Ci)" was estimated at 180,000 to 250,000 yuan, but it ultimately sold for 1.23 million yuan. The work was written on twelve-line letter paper, with the phrase “Letters for Evening Learning” inscribed in the lower left corner, penned by Zhang Chong and an old Tibetan scholar. Historically, Qing dynasty letters were often decorated with colorful patterns, earning them the nickname “flowers.” These were once common for everyday use, but today, they are rare and highly valuable. The tradition of flower paper dates back to the Tang Dynasty, though most surviving examples are from the Song Dynasty. Ming Dynasty flower paper is extremely rare, while Qing Dynasty versions were more commonly produced. The golden age of flower paper was during the late Qing period, with Beijing and Shanghai serving as major centers for their production. Collectors often seek out well-known paper shops such as Qingyi Pavilion in Beijing, Rongbaozhai, and Duoyunxuan in Shanghai. These centuries-old establishments are known for producing high-quality, hand-made paper with intricate color registration and excellent engraving. The older the paper, the more complex the design, and the higher the price tends to be. Many renowned calligraphers and painters preferred these exquisite papers, as they enhanced the overall aesthetic of their works. It is even said that a collector once tried to persuade Qi Gong to write on a set of seven-character couplets made from gold-leaf paper, but Qi Gong refused, emphasizing the importance of quality materials. Paper notes are also essential in verifying the authenticity of artworks. For example, Xuan Dejian paper became popular during the Ming Xuande period, while waxy paper was widely used between the mid-Qianlong and Daoguang eras. Modern paper varieties also have distinct characteristics. In the early years of the People's Republic of China, there were noticeable differences between the paper used then and the ones produced today. However, counterfeiters often exploit this by using old-style paper to create fake works. Recently, a poem by Shen Yunmo was found written on a thin film, supposedly on Jiuhua Church paper, which appeared very aged. In reality, it was a modern reproduction printed on real old paper, making it highly deceptive.

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